Electronic music pioneer, Morton Subotnick, gives a tour of his New York studio and discusses his career on Electric Independence. In case you’re unfamiliar, Subotnick is responsible for commissioning Don Buchla to build the famous Buchla Series 100. Oh yeah, and he’s using Ableton Live. Awesome!
I isolated this string sound from my Ostraka set tonight at Short Circuit, “a monthly show set up to show case local and out of state electronic music artists” – from the Short Circuit Facebook Page. Tonight the line-up included WEb DiMension, Sputnik Viper, Square Wail, and Ostraka.
Casio CZ1000 Strings
Here’s another example of arpeggiated self-resonance from the Juno. This time instead of adjusting the settings on the synthesizer, I made adjustments to the arpeggiator. Basically I adjusted the style, steps, and distance in Ableton Live’s arpeggiator. It includes a total of eighteen unique arpeggiator modes or styles. I used “Pinky UpDown”, “Thumb UpDown”, “Random Once”, “Random”, “Chord Trigger”, and “Con & Diverge”. Perhaps a couple of others as well.
Arpeggiated Self Resonance 2
I created this microtrack from a tiny sample of a chord played on my Casio CZ-1000. I looped the chord and then ran it through a effect chain with five plugins, including Ableton Resonators, MDA DubDelay, Auto Pan, Chorus, and Reverb. I automated several parameters such as the delay feedback and tone.
Casio Micro Microtrack
I found this arpeggio that I created in Ableton Live and rendered on the Roland Juno-106, in a temporary folder weeks after I had deleted it from the set I was working on. I listened to it and decided it was worthwhile using it for today’s synthesizer sound. It includes some nice manual filter sweeps as well as some other tweaks. I added an un-synched delay to give it some depth, but that was it for processing.
Lost Arpeggio Passage